DISCOURSE ANALYSIS FINAL EXAMINATION
A Pragmatic Analysis of Speech Acts used in the “Dead Poets Society
(1989)” Film.
This analysis was written to complete the final examination for the Discourse Analysis course.
Lecturer:
Siti Mukminatun, S.S., [Link].
Compiled by:
Pamungkas Shena Wicaksana Putra 22202241115
ENGLISH LANGUAGE EDUCATION
FACULTY OF LANGUAGES, ARTS, AND CULTURES
YOGYAKARTA STATE UNIVERSITY
2024
I. INTRODUCTION
1. Background of the Study
As social beings, humans rely on interaction to connect with others. In this regard,
language serves as a communication tool to express themselves, their thoughts, their opinions, or
their feelings to others. According to Cook (2003:03), “Language is at the heart of human life.”
This suggests that language is very important in human life because it facilitates communication
between individuals worldwide and serves as a unifying force in all aspects of human life.
Rabiah (2012) also states that language is a communication tool used by everyone in their daily
life as a means to convey information and arguments to others. This means language is deeply
woven into everyday life, which is important to understand and connect with others. In
communication, language can be used in the form of spoken or written words. While its primary
purpose is to help people interact and share information with others, language often goes beyond
simple communication. It can carry deeper meanings, express emotions, convey cultural values,
or even influence the way people think and perceive the world around them. In some cases, what
is said holds more significance than just the words themselves, reflecting underlying intentions,
unspoken feelings, or shared understanding between individuals.
To achieve successful communication, it’s important to understand these deeper aspects,
which are closely tied to pragmatics. Pragmatic is one of the studies in linguistics that is
concerned with the meaning in relation to the context in which a person is speaking or writing
(Paltridge, 2012). When the utterance is expressed implicitly, it means that the speaker is
applying pragmatics in conveying the message that the speaker wants to inform the hearer
indirectly. Pragmatics occurs in both spoken and written. However, it is mostly found in spoken
rather than written. Therefore, it is considered the study of the implied meaning of utterances
spoken which studies speech acts, implicature, reference, presupposition, and others.
In pragmatics, the language function is studied in speech acts (McCarthy, 1991). Searle
(1969) proposed that speech acts are based on the idea that language is not only used to describe
things but also to perform actions. Its main focus is on how meaning and actions are connected
through language. Similarly, Yule (1996:47) stated that “an action that is performed by utterances
is called speech acts.” This means that words can function like physical actions when people use
speech to accomplish something. A speech act involves an utterance that carries both explicit and
implicit meanings. An utterance happens during conversations between people and refers to
something spoken by someone. An utterance is used not only to convey information but also to
perform actions through speech. According to Austin (1962), there are three types of acts in
speech act: the locutionary act, illocutionary act, and perlocutionary act. A locutionary act refers
to the actual utterance and what it means based on the words and structure used. An illocutionary
act is the intention of a speaker expressed implicitly in order to be done. While a perlocutionary
act is the result or effect of what is said on the listener. Following Austin, Searle (1969)
classified illocutionary act into five categories: representatives, which include assertions, claims,
reports, and conclusions; directives, such as suggestions, requests, orders, and commands;
expressives, which cover apologies, complaints, and expressions of thanks; commissives,
including promises, threats, and refusals; and declaratives, such as decrees and declarations.
Like other forms of literature, such as drama and novels, films feature dialogues between
characters. These dialogues allow viewers to understand the messages conveyed in the film. As a
medium of communication, film serves as a platform for delivering messages, which can be
expressed through words, phrases, clauses, or sentences. These elements form spoken discourse
that includes various types of speech acts. Each character in a film can perform multiple acts
through their utterances, with their roles contributing to the delivery and presentation of
information.
Dead Poets Society is a film produced by Touchstone Pictures and released in 1989. It is
a widely acclaimed film directed by Peter Weir that features a compelling story set in an elite
boarding school. The film follows an unorthodox English teacher, John Keating, who inspires his
students to embrace their individuality and “seize the day” through poetry and literature. The
story explores themes of conformity, passion, and the pursuit of dreams, making it a profound
and impactful drama. In terms of speech acts, Dead Poets Society presents a unique case in how
dialogue is used throughout the film. It is chosen as the object of the study since it has many
dialogues in the form of utterances, which can be analyzed on the speech acts aspects.
2. Rationale for the Study
This study examines the locutionary, illocutionary, and perlocutionary acts in the
dialogues of Dead Poets Society through the lens of speech act theory. The author also wants to
identify the five categories of illocutionary act proposed by Searle (1969): representatives,
directives, expressives, commissives, and declaratives. By analyzing these elements, this
research wants to connect the use of speech acts in the film to the broader framework of
pragmatics that shows how speech acts shape interactions and contribute to the development of
the film’s themes and characters.
3. Research Objectives and Questions
The purpose of this study is to examine the use of speech acts in Dead Poets Society and analyze
their communicative functions. The research is guided by the following questions:
a. What types of speech acts are used in Dead Poets Society?
b. What are the types of speech acts used most frequently in Dead Poets Society?
c. What role do speech acts play in conveying authority, emotion, and persuasion
throughout the film?
The objectives of this research are as follows:
1. To identify the types of speech acts used in Dead Poets Society.
2. To identify the most frequently used speech acts in Dead Poets Society.
3. To analyze the communicative functions of these speech acts in the film’s dialogues.
4. Scope of the Study
This study focuses on selected dialogues from the film Dead Poets Society (1989) to
analyze the use of speech acts in conveying meaning and communication. The analysis will
specifically examine the locutionary, illocutionary, and perlocutionary acts in the characters'
interactions, drawing on the categories proposed by Searle (1969): representatives, directives,
expressives, commissives, and declaratives. Through this framework, the study aims to identify
the types of speech acts used in the film, determine which types are used most frequently, and
explore the communicative functions of these speech acts in the film’s dialogues.
II. THE TEXT
Speech Act
No. Minutes Utterances Context/Situation
Types
1. 00:00:54 Photographer: “Okay, put your There were two Directive
arm around your brother! That’s children who were
it.” being photographed
and asked by the
photographer to
embrace their sister.
2. 00:04:53 Todd’s Mother: “Hello Dr. Todd and his parents Representative
Nolan. This is our youngest, had just attended Dr.
Todd.” Nolan's ceremony and
Nolan: “Mr. Anderson. You have were about to head
some big shoes to fill, young home. Then, they met
man. Your brother was one of our Nolan for the first
best.” time, and Nolan had
Todd: “Thank you.” high expectations of
Todd, just like his
older brother, who was
one of the school's best
students.
3. 00:05:04 Nolan: “Neil. We expect great Neil and his father met Representative
things from you this year. with Nolan, and they
Neil: “Thank you, sir.” discussed the
Mr. Perry: “Well, he won’t expectations that both
disappoint us. Right, Neil?” his father and Nolan
Neil: “I’ll do my best, sir.” had for Neil.
4. 00:08:14 Mr. Perry: “Neil, I've just Neil sedang berada di Directive
spoken to Mr. Nolan. I think that kamar dengan
you're taking too many temannya, dan tiba
extracurricular activities this tiba ayahnya datang
semester, and I've decided dan memberikan
that you should drop the school informasi bahwa Neil
annual.” harus keluar sekolah.
Neil: “But I’m the assistant editor
this year.
Mr. Perry: “Well, I’m sorry,
Neil.”
Neil: “But, father, I can't. It
wouldn't be fair.”
Mr. Perry: “Fellas, could you
excuse us for a moment?”
5. 00:22:39 Keating: “Excrement. That’s Keating criticizes the Expressive
what I think of Mr. J. Evans technical approach in
Pritchard. We're not laying pipe. the book
We're talking about poetry. How "Understanding
can you describe poetry like Poetry" that one of the
American Bandstand? ‘I like students is reading,
Byron. I give him a 42, but I can't stating that poetry
dance to it.’” should not be rated
like numbers or scores.
6 00:32:35 Neil: “What if you didn't have to Neil tries to convince Commissive
read? What if you just came and Todd to join an
listened?” activity by offering a
Todd: “That’s not how it works.” solution outside the
Neil: “Forget how it works. What usual rules. Neil wants
if they said it was okay?” Todd to join without
Todd: “What? What, are you following the typical
gonna go up and ask them if? No, procedures or
no.” requirements, such as
Neil: “I’ll be right back.” reading.
7. 00:44:14 Keating: “Now, in addition to The context of this Directive
your essays, I would like you to conversation was that
compose a poem of your own. An the students were told
original work.” to write a poem from
Students: (Sigh) their own ideas, and
Keating: “That’s right. You have they seemed stressed
to deliver it aloud in front of the by the task.
class on Monday.”
Students: (Sigh)
8. 00:44:34 Keating: “Mr. Anderson? Don't Keating knew that the Representative
think that I don't know that this assignment was hard
assignment scares the hell out of for Todd because he
you, you mole.” struggled with
composing and
reading poetry.
9. 00:46:49 Todd: “Yeah, but if he said no…” Neil is talking to Todd Representative
Neil: “Jesus, Todd, whose side about auditioning for a & Expressive
are you on? I mean, I haven’t role in a play. Neil is
even gotten the part yet. Can’t I excited and
even enjoy the idea for a little determined to pursue
while?” his dream of becoming
an actor, even though
he knows his father
won’t approve. Todd,
more cautious,
suggests Neil ask for
his father's permission
first. This leads to a
small conflict, with
Neil eager to follow
his dream and Todd
concerned about the
consequences.
Frustrated, Neil just
wants to enjoy the idea
of being an actor
without facing the hard
reality or his father’s
objections.
10. 00:54:20 Keating: “Mr. Hopkins, you were In class, Mr. Keating Expressive
laughing. You're up.” asks the students to
Hopkins: “The cat sat on the read their original
mat.” poems aloud.
Keating: “Congratulations, Mr.
Hopkins. You have the first poem
to ever have a negative score on
the Pritchard scale. We're not
laughing at you, we're laughing
near you. I don't mind that your
poem had a simple theme. The
most beautiful poetry can be
about simple things like a cat, or
a flower, or rain. You see, poetry
can come from anything with the
stuff of revelation in it. Just don't
let your poems be ordinary.”
11. 00:55:10 Keating: “Come on, Todd, step In this scene, the Representative
up. Let’s put you out of your students are required
misery.” to present their
Todd: “I didn’t do it. I didn’t original poems in front
write a poem.” of the class. Todd,
Keating: “Mr. Anderson thinks however, is hesitant
that everything inside of him is and anxious about
worthless and embarrassing. Isn't reading his poem.
that right, Todd? Isn't that your When Keating notices
worst fear? Well, I think you're Todd's reluctance, he
wrong. I think you have calls him out in front
something inside of you of the class
that is worth a great deal.”
12. 00:56:55 Keating: “You can do better. Free In this scene, Mr. Directive
up your mind, use your Keating continues to
imagination. Say the first thing encourage Todd to
that pops into your head, even if overcome his
it’s gibberish.” self-doubt. After
Todd: “A sweaty-toothed urging Todd to speak
madman.” spontaneously
Keating: “Good God, boy,
there’s a poet in you after all.
13. 00:57:14 Todd: “And this image floats In the classroom, Mr. Representative
beside me.” Keating motivates
Keating: “A sweaty-toothed Todd to express his
madman.” creativity by
Todd: “A sweaty-toothed imagining and
madman with a stare that pounds describing a scene
my brain.” with closed eyes.
Keating: “Oh, That’s excellent.”
14. 00:57:19 Keating: “Now give him action. In this scene, Todd Expressive
Make him do something.” starts to describe his
Todd: “His hands reach out and imagined
choke me.” "sweaty-toothed
Keating: “That’s it. Wonderful, madman" in greater
wonderful.” detail. Mr. Keating has
Todd: “And all the time he’s encouraged him to add
mumbling.” action to the character,
and Todd follows
through by saying the
madman is choking
him.
15. 00:57:28 Todd: “Mumbling truth. Truth, In this scene, Mr. Directive
like a blanket that always leaves Keating is guiding
your feet cold.” Todd through a poetry
Students: (Laughing) exercise in front of the
Keating: “Forget them, forget class but his friends
them. Stay with the blanket. Tell laugh when Todd uses
me about the blanket.” a metaphor about a
Todd: “You can push it, stretch it, blanket, then Keating
it'll never be enough….” steps to help him
focus.
16. 01:05:27 Keating: “Gentleman, the Keating encourages Directive
courtyard is yours.” his students to find
their own way of
walking in the school
courtyard. This
exercise is part of his
creative teaching
method that aims to
teach freedom of
thought, individuality,
III. THE ANALYSIS
No. Analysis
1. Speech Act Type: Directive
Utterance Category: Command
Illucotionary Act: The photographer is requesting one child to put their arm around
their sibling while posing for the photo.
Perlocutionary Act: The child follows the request and places their arm around their
sibling.
2. Speech Act Type: Representative
Utterance Category: Assertion
Illucotionary Act: Dr. Nolan expresses his high expectations for Todd based on his
brother's previous achievements.
Perlocutionary Act: Todd feels pressured by Nolan's statement, as it implies he is
being compared to his high-achieving brother.
3. Speech Act Type: Representative
Utterance Category: Assertion
Illucotionary Act: Nolan and Mr. Perry express their high expectations for Neil’s
performance this year, implying their confidence in his abilities.
Perlocutionary Act: Neil feels the burden of these expectations that lead him to
respond politely and assure them he will try his best. This may also create a sense of
pressure for Neil.
4. Speech Act Type: Directive
Utterance Category: Request
Illucotionary Act: Mr. Perry asks Neil’s friends to excuse them, implying that he and
Neil will leave the room to talk privately.
Perlocutionary Act: Mr. Perry and Neil leave the room to have a private conversation.
5. Speech Act Type: Expressive
Utterance Category: Complaint
Illucotionary Act: Keating expresses his strong disapproval of the technical and
impersonal way J. Evans Pritchard evaluates poetry in the textbook. He said that poetry
should not be treated like a technical score or number.
Perlocutionary Act: After hearing Keating's passionate disapproval, they are
influenced by his perspective and question the approach they have been following, and
one of the students suddenly erases their notes.
6. Speech Act Type: Commissive
Utterance Category: Promise
Illucotionary Act: Neil proposes a commitment to take action on Todd’s behalf by
suggesting he will find a way to make it possible for Todd to join the activity without
following the usual rules.
Perlocutionary Act: Todd is left surprised or uncertain as Neil leaves, likely realizing
Neil intends to act on his idea.
7. Speech Act Type: Directive
Utterance Category: Command
Illucotionary Act: Keating directs the students to compose and present an original
poem. His statement clearly makes the task mandatory, with the additional requirement
of presenting it aloud in front of the class. The students' sighs show their reluctance and
discomfort with the task.
Perlocutionary Act: The students' sighs reveal their emotional reaction to the directive,
indicating anxiety and displeasure about the assignment, but they recognize they must
comply.
8. Speech Act Type: Representative
Utterance Category: Assertion
Illucotionary Act: Keating asserts that he is aware Todd is fearful of the assignment,
addressing Todd’s anxiety directly with his statement. This declaration suggests Keating
is confident in understanding the student's feelings, making it clear that the assignment
cannot be avoided.
Perlocutionary Act: Todd, likely feeling exposed and self-conscious, reacts with
discomfort or anxiety. Keating's statement makes Todd more aware that his fear is
recognized, which could increase his reluctance and unease about the upcoming task.
9. Speech Act Type: Representative & Expressive
Utterance Category: Assertion & Complaint
Illucotionary Act: Neil conveys the fact that he has not yet gotten the role, but he
wants to enjoy the possibility without having to think about the problems. He also
implies that Todd is being too pessimistic and not giving him a chance to dream.
Perlocutionary Act: Neil’s statement makes Todd feel guilty or reconsider his cautious
stance. Todd might also realize that Neil needs support rather than additional concerns
at this moment.
10 Speech Act Type: Expressive
Utterance Category: Mocking
Illucotionary Act: Keating makes a sarcastic comment about the Pritchard scale,
suggesting that it’s not a valid way to evaluate poetry. By saying, "Congratulations, Mr.
Hopkins, you have the first poem to ever have a negative score on the Pritchard scale,"
he is mocking the idea of using such a scale. Keating’s point is that poetry should not be
judged by a rigid system. He encourages students to think more freely about poetry and
to find beauty in simple things.
Perlocutionary Act: The students laugh at Keating's sarcastic remark, which shows
that they are amused and likely feel more at ease. His comment helps them realize that
they don't need to follow strict rules to appreciate poetry, making them more open to
creative expression.
11. Speech Act Type: Representative
Utterance Category: Assertion
Illucotionary Act: Todd asserts that he hasn't written the poem, which is untrue. He is
trying to avoid reading by making an excuse because of his fear of embarrassment.
Perlocutionary Act: Todd's initial false claim causes a misunderstanding, but Mr.
Keating’s response reveals Todd's underlying fear. While Keating's words might make
Todd feel exposed, they also push him to face his fears. By telling Todd he has value,
Keating motivates him to take action and build confidence.
12. Speech Act Type: Directive
Utterance Category: Suggestion
Illucotionary Act: Keating encourages Todd to unlock his creativity and express
himself freely without fear of judgment. His words are aimed at guiding Todd to step
outside his comfort zone and trust his instincts.
Perlocutionary Act: Todd feels compelled to respond despite his hesitation. This
prompts him to come up with the phrase "a sweaty-toothed madman," signaling that he
is beginning to break through his self-doubt.
13. Speech Act Type: Representative
Utterance Category: Assertion
Illucotionary Act: Keating repeats "A sweaty-toothed madman" to recognize Todd’s
contribution and prompt him to expand on the idea to support his creative expression.
Perlocutionary Act: Keating's statement reassures Todd, giving him the confidence to
continue and expand upon the description. Todd feels validated and motivated to
describe the madman in more detail.
14. Speech Act Type: Expressive
Utterance Category: Praise
Illucotionary Act: Keating’s statement, "That's it. Wonderful, wonderful," expresses
his admiration and praise for Todd's imagination. He is showing approval and
encouraging Todd’s continued creative effort.
Perlocutionary Act: The praise from Keating encourages Todd to continue developing
his creative expression, likely boosting his confidence and pushing him to further
explore his imagination.
15. Speech Act Type: Directive
Utterance Category: Suggestion
Illucotionary Act: Keating says, "Forget them, forget them. Stay with the blanket. Tell
me about the blanket," to guide Todd’s attention away from the class and back to his
ideas. He encourages Todd to concentrate on his poetry and keep exploring it without
fear of judgment.
Perlocutionary Act: Keating’s words make Tood calm and he can keep developing his
thoughts about his poetry.
16. Speech Act Type: Directive
Utterance Category: Command
Illucotionary Act: By saying, "The courtyard is yours," Mr. Keating is implicitly
inviting the students to take control of the space and explore their own ways of walking.
This serves as an indirect command or encouragement to participate in the activity.
Perlocutionary Act: The students begin to express themselves freely by adopting their
own unique walking styles.
17. Speech Act Type: Representative
Utterance Category: Assertion
Illucotionary Act: Todd's statement, "Today’s my birthday," carries a specific intent: to
inform Neil about his birthday while indirectly hinting that he would like Neil to
acknowledge it by wishing him a happy birthday.
Perlocutionary Act: The effect of Todd’s words is that Neil gets the hint and responds
by saying, "Happy birthday," which makes Todd feel acknowledged and appreciated.
18. Speech Act Type: Directive
Utterance Category: Suggestion
Illucotionary Act: Neil’s statement, "Its shape is... rather aerodynamic, isn’t it? I can
feel it. Phew. This desk set wants to fly. Todd?" expresses his indirect suggestion for
Todd to throw the desk set. By pretending that the desk set is "aerodynamic" and "wants
to fly," Neil is encouraging Todd to release his frustration and metaphorically "let it fly."
He subtly prompts Todd to take action, using humor to make the suggestion feel
lighthearted and less confrontational.
Perlocutionary Act: The effect of Neil’s words is that Todd picks up on the suggestion
and, feeling encouraged and validated, throws the desk set.
19. Speech Act Type: Representative
Utterance Category: Assertion
Illucotionary Act: Charlie intends to introduce Gloria and Tina to the group. His
hesitation ("uh") suggests that he has difficulty recalling Tina’s name, so he leaves the
introduction incomplete, relying on Tina to provide her name.
Perlocutionary Act: Tina self-introduces herself by saying “Tina,” completing
Charlie’s introduction.
20. Speech Act Type: Representative
Utterance Category: Assertion
Illucotionary Act: Mr. Perry states that he has worked hard and given up a lot to ensure
Neil’s success, and he expects Neil to fulfill his expectations.
Perlocutionary Act: Neil feels obligated or pressured to meet his father’s expectations
without argument. But he has accepted his demand by saying “No, sir.”
21. Speech Act Type: Commissive
Utterance Category: Promise
Illucotionary Act: Knox is committing to an action (rejoining the group later). His
words convey a promise to follow through on this intention. By saying "I'll catch up,"
Knox makes a promise or commitment to follow the group after a short delay.
Perlocutionary Act: The group feels reassured and continues walking without waiting
for Knox. His statement allows them to proceed without worrying about him falling
behind.
22. Speech Act Type: Commissive
Utterance Category: Promise
Illucotionary Act: Knox commits to staying away from Chris if she decides she does
not like him after the evening.
Perlocutionary Act: Chris feels the sincerity in Knox’s words and might be persuaded
to give him a chance, as she acknowledges with “Uh-huh.”
23. Speech Act Type: Expressive
Utterance Category: Complaint
Illucotionary Act: Neil is indirectly protesting and disagreeing with his father’s
decision by describing the time commitment as excessive and emotionally overwhelm
Perlocutionary Act: Mr. Perry dismisses Neil’s concern with “Oh, stop it,” indicating
that he does not take Neil’s feelings seriously and is firmly committed to his decision.
24. Speech Act Type: Representative
Utterance Category: Assertion
Illucotionary Act: Cameron indirectly confesses to informing Nolan by explaining the
honor code and the consequences of not telling the truth. Although he doesn't directly
say that he informed on the club, his explanation implies it.
Perlocutionary Act: Cameron's explanation leads Dalton to feel betrayed and upset,
calling him a "little punk.”
25. Speech Act Type: Directive
Utterance Category: Order
Illucotionary Act: Nolan is giving Neil an order to sit down.
Perlocutionary Act: Neil sits down, preparing for the confrontation or discussion that
follows.
IV. INTERPRETATION
The analysis is based on the utterances documented in Chapter II. The examples in the
table of Chapter II show how the concept of speech act theory is applied in the form of utterances
throughout the film. As a medium of communication, the film acts as a platform to deliver
messages, which are expressed through words, phrases, clauses, or sentences, forming spoken
discourse that includes various types of speech acts. The main objective of the study was to
investigate how characters apply speech acts to communicate authority, emotion, and persuasion,
in line with Searle’s (1969) theoretical framework. The findings reveal that the characters
actively used all four categories of speech acts identified in the film (Representatives, Directives,
Expressives, and Commissives), though Declarations were not present. For example, Mr. Keating
often uses Directives to encourage his students to challenge norms and embrace creativity, which
reflects his role as an inspirational mentor who seeks to empower his students through language.
Table 1. Speech Act Categorization
No. Speech Act Type Frequency Percentages (%)
1. Representatives 10 37.04%
2. Directives 8 29.63%
3. Expressives 5 18.52%
4. Commissives 3 11.11%
5. Declarations 0 0.00%
According to Table 1, the characters in Dead Poets Society (1989) employed a total of ten
Representatives (37.04%), eight Directives (29.63%), five Expressives (18.52%), and three
Commissives (11.11%), with no examples of Declarations (0.00%). This demonstrates that for
the entire film, the characters use Representatives most frequently, while Commissives are used
less often, and Declarations are entirely absent. Representatives involve assertions, statements, or
expressions of belief, and their dominance reflects the film’s focus on characters articulating
their thoughts, beliefs, and expectations. For instance, Neil’s statement, “I’ll do my best, sir,”
showcases how Representatives often serve to convey agreement or acknowledgment of societal
expectations.
Directives, including commands, requests, or suggestions, are the second most frequently
used speech act, as this category highlights the pedagogical and hierarchical dynamics between
Mr. Keating and his students. Keating’s directive, “The courtyard is yours,” shows his effort to
inspire the students to think independently and express their creativity. Expressives, which
convey emotions such as frustration, dissatisfaction, or gratitude, are also significant. For
example, Neil’s expressive complaint, “Father, that’s a lifetime,” reflects his emotional resistance
to his father’s control and adds depth to the character's internal conflict.
Commissives, though less frequent, are important in expressing promises or
commitments that drive the narrative forward. For instance, Knox’s promise, “I’ll stay away
forever,” highlights his determination to win Chris’s trust and affection. Finally, the absence of
Declarations suggests that the film focuses on interpersonal and emotional exchanges rather than
institutional or formal changes typically enacted by this category of speech acts.
This distribution shows that the characters in Dead Poets Society rely heavily on
Representatives and Directives to express ideas and inspire actions, while Expressives and
Commissives add emotional and motivational dimensions to their interactions. The absence of
Declarations highlights the film’s focus on personal relationships and growth, with dialogue that
shapes individual growth and challenges societal norms.
V. CONCLUSION
In summary, this study analyzed the use of speech acts in the film Dead Poets Society
(1989), based on Searle’s (1969) theoretical framework. The findings showed that
Representatives were the most frequently used speech act (37.04%), followed by Directives
(29.63%) and Expressives (18.52%). Commissives were used less often (11.11%), and no
Declarations were present. The results indicate that the film focuses on expressing beliefs,
guiding actions, and conveying emotions through dialogue. The prominence of Representatives
and Directives reflects the film’s focus on personal expression and mentorship. Additionally, the
absence of Declarations suggests that the narrative centers on emotional and interpersonal
interactions rather than formal decisions. This study found how language functions as a tool for
communication, empowerment, and emotional expression that underscores the central role of
speech acts in shaping character development and relationships in the film.
REFERENCES
Cook, G. (2003). Applied linguistics. Oxford University Press.
Paltridge, B. (2012). Discourse Analysis An Introduction (2nd edition ed.). Bloomsbury
Academic.
Searle, J. R. (1969). Speech acts: An essay in the philosophy of language. Cambridge University
Press.